The 65th Annual Midwest Clinic

Chicago, IL
December 14-17, 2011

Stopped and Muted Horn: A Guide for Directors

Presenter: James Boldin, D.M.A., Assistant Professor, The University of Louisiana at Monroe

Stopped horn is an extremely effective but sometimes misunderstood technique.

Passages for stopped horn occur in nearly every genre of music, from solos and
chamber music to large ensembles such as orchestra and wind band. This clinic1
will present some practical methods for helping your horn players learn this
technique.

Mutes can also be problematic. Sometimes even choosing the correct kind of
mute can be confusing, and there are usually several workable options.
Recommendations on types and brands of mutes for purchase as well as some
helpful tricks when working with muted horn sections are also included.

A Brief Explanation of Stopped Horn

One reason stopped horn technique is misunderstood is because of its acoustical effects. Even
professional horn players and acousticians do not agree entirely on what happens when the horn is
stopped. Essentially, there are two main theories when it comes to describing what happens when the
hand completely covers the bell.

Theory I states that fully closing the bell lowers the resulting pitch to 1/2 step above the next lowest
harmonic.

We can test this theory by examining the harmonic series.

[All pitches in this handout are notated for Horn in F]

According to Theory I, stopping the written third space C on the open F horn should produce a slightly
flat B natural, which is 1/2 step above the slightly flat harmonic directly below it.

1
Materials, exercises, and images in this handout have been adapted from my article, "Horn: Stopped and
Muted” The Instrumentalist 63, no. 2 (September 2008): 48-51. © 2008 The Instrumentalist Publishing Co.
Used with permission from The Instrumentalist.
 Stopped Horn & Muted Horn 2

So, stopping this pitch on the F horn produces this pitch

Theory I holds true as long as the player allows the hand stopping motion to gradually lower the pitch
of the open note.

Theory II states that fully stopping the horn raises the resulting pitch by 1/2 step, requiring that players
finger pitches 1/2 step lower than written on the F horn.

According to Theory II, stopping the written third space C on the open F horn should produce a C sharp,
1/2 step above.

So, stopping this pitch on the F horn ALSO produces this pitch

Theory II holds true when the player attempts to maintain the pitch being played, resulting in the note
"popping" up to the next harmonic.

Both theories are correct! Theory I makes sense from an acoustical perspective, since gradually closing
the hand in the bell does lower the pitch. Theory II makes sense for the purposes of fingering, since we
must finger pitches 1/2 step below the written note on the F horn to obtain the correct pitch. A close
study of the horn's harmonic series will reveal that both theories are really the same, but each approaches
the explanation differently. Using the B-flat side of the horn complicates the issue even more, because
while stopped horn on the B-flat side still follows Theory I, attempting to maintain the given pitch as in
Theory II raises the written pitch by 3/4 step, rather than 1/2 step. More information on B-flat stopped
horn fingerings will follow.

A Practical Approach to Stopped Horn

While the above explanation is interesting, quite often it does not really offer a practical solution for
music educators with many things on their mind. The following tips should aid in helping your students
to produce an acceptable stopped horn sound.

Proper open horn hand position is a must. While hand position is always important for horn players, it
becomes absolutely crucial when hand stopping. Hand positions vary among professionals, but some
general characteristics of a good right hand position on the open horn are:

1) Fingers are bent at the knuckle and fairly straight from the knuckle to the tips of the fingers.

2) The thumb is close against the side or top of the index finger, with no spaces between.

3) There are no spaces between fingers.

 Stopped Horn & Muted Horn 3

4) The palm of the right hand is slightly cupped, as if swimming freestyle or holding shampoo.

5) The right hand is allowed to conform to the shape and size of the bell—this will result in a
slightly rounded shape when the back of the hand is pressed against the far right side of the
bell.
6) Line up the knuckle of the thumb with the bell brace, and then insert the right hand until the
thumb touches the upper part of the bell and the bottom edge of the hand makes contact
with the bell.

See Figures 1 and 2 below for a demonstration of these concepts, with the hand in and out of the
bell of the horn.

Figure 1. Proper Right Hand Formation

Figure 2. Proper Open Hand Position

Ideally, the move from open to stopped horn should be as efficient as possible, and should not require a
drastic shift in hand position. The following ideas are helpful in practicing open to stopped horn.
Consult Figure 3 at the end of this section for pictures of proper stopped horn hand position.
 Stopped Horn & Muted Horn 4

1) A proper stopped horn sound is compressed, brassy, and even nasal. Obtaining this sound
requires as leak-free a seal as possible between the right hand and the horn's bell throat. Many of
the problems players encounter when playing stopped horn (poor intonation, uncharacteristic sound,
etc.) can be remedied by readjusting the hand position.

2) Avoid the temptation to shove the hand further into the horn bell. A hand position that is too far
into the bell of the horn will cause the resulting pitches to be very sharp. This problem is much
more difficult to handle for those players who have relatively small hands and horns with large bell
throats. Keep the thumb pulled back and out of the way of the hand. For extra help, see No. 3
below.

3) Instead of attempting to "shut the door" of the hand perpendicularly across the front of the bell, try
closing the bell off completely at an angle. Closing the bell at an angle decreases the area you are
trying to cover, allowing for a better seal.

4) Strive for as much contact as possible between the heel of the hand and the bell throat. Remember,
we want to eliminate as many leaks as possible. Having students imagine that they are squeezing
the horn between their left and right hands is sometimes helpful in getting a proper seal. For those
with bony hands, slightly twisting the heel of the palm so that even more flesh is in contact with the
bell can help.

5) Another issue when playing stopped horn is the dramatic increase in resistance. Frequently students
simply are not blowing assertively enough against the resistance to get the "buzz" that many
composers want when they ask for stopped horn. Filling out the sound of stopped notes will also
help with intonation and articulation problems. The exercises included with this article are designed
to help players work on this facet of stopped horn technique.

Figure 3. Stopped Horn Hand Position

List of Terms/Symbols that Denote Stopped Horn

+ stopped gestopf bouché chiuso

 Stopped Horn & Muted Horn 5

Suggested Stopped Horn Fingerings

Players should generally be fine to use F horn fingerings and transpose down 1/2 step within the
following range. Given that the above factors are properly addressed, this range presents the least
problems of intonation and articulation.

For the high register, F horn fingerings will work, but problems of accuracy and intonation become
more exaggerated. For this range, try using the following fingerings. The abbreviation "T" indicates
that B-flat horn fingerings should be used.

While these fingerings will work on most horns, there are many alternate fingerings. The only rule one
need follow when deciding on alternate fingerings is "if it sounds right, it is right." If the intonation and
sound quality are good, then it does not matter what fingering is used.

The low register as shown below often presents the greatest difficulties on stopped horn, with
articulation and intonation being the most acute problems.

Although I do recommend that students learn to play in this range without the aid of a transposing stop
mute, more and more professional players are using stop mutes. These mutes create a louder, more
stable stopped sound, and are relatively inexpensive. They usually require that players transpose the
written pitches down 1/2 step to obtain the proper F horn fingerings, although the Best Brass company
has recently developed a non-transposing stop mute. Be aware though that a hand-stopped sound is
different from that of a stop mute. Although stop mutes and hand muting can be compatible within a
section, avoid mixing stopped horn and straight mute timbres unless this combination is specifically
requested by the composer.

One final thought on working with stopped horn sections. When rehearsing stopped horn passages it is a
good idea to let your players perform the part on open horn at least a few times so that they can get a
better sense of pitch and articulation before attempting to play the part stopped. Once they do play the
 Stopped Horn & Muted Horn 6

part stopped, encourage them to really blow so that they can experience the sensation of producing a
compressed, brassy sound.

Stopped Horn Exercises

These exercises are designed to help beginning to intermediate players familiarize themselves with
stopped horn technique. If practiced daily, they can help establish a solid foundation for more advanced
stopped horn effects. Simplicity is the goal in these brief passages, and they progress from easy to
difficult techniques. Encourage your students to perform these exercises with a tuner and metronome
whenever possible. Here are some helpful hints to bear in mind.

1) Check intonation frequently with a tuner or drone. Compare intonation from stopped to open
positions.

2) Insist upon a brassy, compact, and nasal stopped sound. Producing this sound quality, especially in
the lower register, will require huge amounts of air!

3) Check hand position frequently to check for air leaks.

4) Rely solely on the ear for pitch accuracy at first, until muscle memory is developed.

5) Take frequent breaks until endurance is developed.

Exercise 1. Stopped Horn Basics: Hand Position and Middle Register Articulation/Intonation

(Continue into upper register if desired.)

 Stopped Horn & Muted Horn 7

Exercise 2. More Rapid Articulations

(Continue into upper/lower register if desired.)

Exercise 3. Stopped/Open Horn Coordination and Upper Register Practice

Exercise 4. Low Register Practice

 Stopped Horn & Muted Horn 8

Exercise 5. Developing Musicality Yes, stopped horn can be musical! Practice this well known tune
on open horn first, then stopped horn. Strive to create as "beautiful" a stopped horn sound as possible,
with all the correct phrasing and nuances required by the music.

Tips for Using Horn Mutes

Fortunately, mutes present much less of a problem than hand stopping. The major issue with younger
players is having access to a quality mute and understanding a few basic concepts of muted horn
technique.

Equipment Recommendations

Humes and Berg "Stonelined" straight mute Model 121 - average retail price $20
Decent in the middle range, but difficult to control in the low range.

Humes and Berg "Stonelined" straight tunable mute Model 134 - average retail price $40
A much better buy, and you won't be disappointed if your horn players ever need mutes.

If you are interested in investing more in a mute, the following makes are more expensive, but of
a truly professional quality.

Trumcor
Lewis
Engemman
Ion Balu
Denis Wick
Moosic

Some Basics of Mute Technique

1) Avoid seating the mute too tightly in the bell of the horn. The mute only needs to be snug;
shoving the mute too far into the bell can cause all sorts of articulation and intonation
difficulties; an overly-tight mute also makes mute changes more difficult.

2) As with stopped horn, students simply need to become more comfortable with the sound of
a muted horn. All of the above stopped horn exercises can easily be adapted to muted horn
practice.
 Stopped Horn & Muted Horn 9

3) For quick mute changes, a wrist strap is extremely helpful. If the mutes your students are
using don't come with a wrist strap, you can easily make one using an eye hook and some
sturdy string.

4) In circumstances where extremely fast mute changes are requested, the mute itself can be
left far enough out of the bell that it approximates an open horn sound. In effect the mute
is performing the same function as the hand. When the muted section is reached, the mute
can be easily inserted into the bell without having to scramble.

Selected Additional Resources

Ashworth, Robert. "Further Thoughts and Theories on Hand-Stopping." The Horn Call: Journal of the
International Horn Society XXIV, no. 1 (November 1993): 35-37.

Benade, Arthur H. Fundamentals of Musical Acoustics. NY: Oxford University Press, 1976.

Boldin, James. "Horn: Stopped and Muted” The Instrumentalist 63, no. 2
(September 2008): 48-51.

Ericson, John. "Suggested Horns, Mouthpieces, and Mutes." Horn Articles Online.
<http://www.public.asu.edu/~jqerics/sug_hnmp.htm>.

Farkas, Philip. The Art of French Horn Playing. Evanston, IL: Summy-Birchard, 1956.

Hill, Douglas. Collected Thoughts on Teaching and Learning, Creativity and Horn Performance.
Miami: Warner Bros. 2001.

Matlick, Eldon. “Solving Horn Mysteries.” The Instrumentalist 48, no. 9 (April 1994): 34-49.

Pizka, Hans. "Letter to the Editor." The Horn Call: Journal of the International Horn Society XXIV, no.
2 (February 1994): 13-15.

Reynolds, Verne. The Horn Handbook. Portland, OR: Amadeus Press, 1997.

Smith, Christopher M. "Misunderstood Basics of Horn Playing Among Even Advanced Students.”
The Instrumentalist 56, no. 8 (March 2002): 36, 38-40.
 Stopped Horn & Muted Horn 10

Appendix: Band and Orchestra Compositions with Prominent Passages for Stopped and Muted Horn

Muted
Beethoven, Ludwig van Symphony No. 6
Berlioz, Hector Symphonie Fantastique
Bruckner, Anton Symphony No. 4
Debussy, Claude La Mer
Prelude to the Afternoon of a Faun
Dvořák, Antonín Symphony No. 9
Mahler, Gustav Symphony Nos. 1-9
Das Lied von der Erde
Mussorgsky, Modest (Ravel) Pictures at an Exhibition
Prokofiev, Sergei Romeo and Juliet (Suite No. 3)
Ravel, Maurice Daphnis and Chloé
Rapsodie Espagnole
Rimsky-Korsavok, Nikolai Le Coq d'Or (suite)
Scheherazade
Schoenberg, Arnold Chamber Symphony No. 1
Shostakovich, Dmitri Symphony No. 5
Strauss, Richard Ein Alpensinfonie
Don Juan
Don Quixote
Ein Heldenleben
Symphonia Domestica
Till Eulenspiegels Lustige Streiche
Stravinsky, Igor L'Oiseau de Feu, Suite (1919)
Le Sacre du Printemps (1913)

Stopped
Brahms, Johannes Academic Festival Overture
de Falla, Manuel El Sombrero de Tres Picos
Grainger, Percy Lincolnshire Posy
Jenkins, Joseph Wilcox American Overture for Band
Mahler, Gustav Symphony Nos. 1-9
Das Lied von der Erde
Ravel, Maurice Daphnis and Chloé
Rapsodie Espagnole
Rimsky-Korsavok, Nikolai Capriccio Espagnol
Le Coq d'Or (suite)
Schoenberg, Arnold Chamber Symphony No. 1
Stravinsky, Igor Le Sacre du Printemps (1913)
Tchaikovsky, Pyotr Symphony No. 5
Symphony No. 6
Williams, Clifton Fanfare and Allegro